2nd International Congress of Musicology
Athens Concert Hall, 4-6 November 2003
Paper Abstracts
Christoph Stroux
Bach analyses Bach
In the opening movement of his cantata no. 110 Bach uses the parody
technique by adding a four-part chorus to the existing fast section of the Ouverture for orchestra no. 4 (BWV 1069). The
distribution of the text serves at the same time as an analysis of the form of the movement, which belongs to the type of concerto-fugue. In general, the analysis
confirms the self-evident formal plan, but it clarifies the composer’s thinking in the central section, which has created problems for modern researchers. These
problems are connected with the fact that a number of 20th century musicologists prefer to operate in formal analyses with terms of compositional technique or
harmony rather than with strictly formal categories. This displacement of the object of analysis can lead to a change in historical perspective.